focal part1 dpc2014 ros presentationdigiprodchallenge.net/.../uploads/...presentations.pdf · ©:...

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DIGITAL'PRODUCTION'CHALLENGE'!

Digital'Intermediate''''''''''

Thursday&13&to&Saturday&15November&2014,&Berlin&(Germany)'

Digital shooting

Film shooting

Digital postproduction

Digital workflow

How to choose ?

Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com`

The&first&quesDons'

What is the feature or program’s end destination?

©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com

What is the feature or program’s end destination?

!  Internet? VOD? Mobile phones?

!  HD digital projection? E-cinema? Large displays?

!  DVD - HD distribution?

!  Current TV broadcast?

!  Ultra HD? HDTV broadcast? 3D broadcast?

!  35 mm theater exhibition? Imax? Imax 3D?

!  D-cinema digital projection (2K / 4K)? 3D?

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The&first&quesDons'

D-Cinema 2K frame format: 2048 pixels x 1080 lines (this is neither HD nor 2K).

D-Cinema 4K frame format: 4096 pixels x 2160 lines.

!  D-cinema digital projection (2K / 4K)? 3D ?

'Reusable'hard'disk'capacity:''

'

2'longDfeature'films'&

Commun'hard'disk'dimensions:'''

17'x'12'x'4'cm'(L'x'l'x'h)'&&

The DCP or Digital Cinéma Packaging is the release format for D-Cinéma (Digital Cinema), the frame being encoded in JPEG 2000.

The DCP

FORMAT: Compressed, split up in ‘reels’

SECURITY: Encrypted using 128-bit AES


''

Standard Definition

From DVcam to Digital Betacam

Telecine

SD

TeleScan

4K Scan

2K Scan

HD

Standard Definition

High Definition

4K

2 K

4 K

Digital still camera

''

Film screening

''

Digital screening

Super 8

Super 16

65 mm

Imax

35 mm

2 P 3 P 4 P

FILM SENSORS CHEMICAL

DIGITAL

35 mm / 70 mm

SD / HD / 2K / 4K

POST-PRODUCTION SHOOT SCREENING

''''

TV Broadcast - DVD Mobile Blu-Ray Internet

SD / HD / ULTRA HD

High Definition

Digital Cinema

From EX-3 to RED EPIC DRAGON, SONY F65, ARRI ALEXA 65


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Super 8

Super 16

Digital still camera

Standard Definition

From DVcam to Digital Betacam

SD

HD

Standard Definition

High Definition

''

65 mm

Imax

Telecine

TeleScan

35 mm

2 P 3 P 4 P

FILM SENSORS CHEMICAL

DIGITAL

Included'in'D.I.'''''''''''''Digital'Intermediate'

Digital'Cinema'

POST-PRODUCTION SHOOT

4K

2 K

4 K 4K Scan

2K Scan

SCREENING

''''

TV Broadcast - DVD Mobile Blu-Ray Internet

SD / HD / ULTRA HD

High Definition

Digital Cinema

From EX-3 to RED EPIC DRAGON, SONY F65, ARRI ALEXA 65


''

Film screening

''

Digital screening

35 mm / 70 mm

SD / HD / 2K / 4K

The&first&quesDons'

This diagram represents only a chronological flow but does not allow to choose shooting and

postproduction tools

SHOOT

POSTPRODUCTION

EXHIBITION

We'prefer'answering'ques5ons'in'the'opposite'order&

SHOOT

POSTPRODUCTION

EXHIBITION


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The&digital&intermediate&

The digital intermediate The process consists of the following components:

!  Editorial Prep !  Scanning (when it�s film) !  Assembling !  Color Correction !  Dustbusting !  Digital Opticals !  Special VFX !  Digital Previewing !  Recording !  Digital Deliverables


DSM Digital Source Master is the confo graded.

Generally in DPX

DCDM Digital Cinema Distribution Master contains all of the digital material

needed for projection. Images and sound.Color Space; x,y,z Tiff 16 bits

The&digital&intermediate&The&digital&intermediate&

Film Screening Digital Intermediate

negative

DCDM

Digital Screening

Transfer to film

Release prints

DVD - Blu-ray Any combination of broadcast formats

HD Master

DSM Color

correction Digital

opticals

DCP = 35 mm copy print

Image

Sound

Compression

PCM - No Compression

Subtitles addition

DCP


No standard

DCDM

DCP

DSM

Standard

Standard

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!  Quantification Color depth

•  16 bits •  12 bits •  10 bits •  8 bits

!  Frequence (speed)

Type of scanning: Progressive

•  60, 50, 48 P (HFR) •  25 P •  24 P

Shooting interlace is not an option in DCI

!  Resolution Number of pixels

•  8K •  UHD •  4K •  2K •  HD

!  Codec

Level and type of compression

!  Bitrate

•  Mbp/s

!  Container

Define the structure of the file

Format: good appellation? Or File types?

How to define a digital data stream 7 parameters by Franck Montagne

PostproducOon'Supervisor'/'Instructor

!  Mode of treatment

Color sampling

•  Raw •  RGB 4:4:4 •  Y-Cb-Cr

o  4:2:2 o  4:2:0 o  4:1:1 o  3:1:1

©: Franck Montagne Postproduction Supervisor / Instructor - http://www.imagemagie.com/

TV Broadcasting Displays

8K: 7680 x 4320 pixels

4K: 4096 x 2160 pixels

Ultra HD: 3840 x 2160 pixels (over'or'with'a'minimum'of)''

Old designation Quad Full HD (QFHD) HD: 1920 x 1080 pixels

Real HD: 1280 x 720 pixels !  Resolution Number of pixels

•  8K •  4K •  2K •  HD

Theater Release DCI SPECIFICATIONS

D-Cinema 2K frame format:

1:1,85: 2048 pixels x 1080 lines (this is neither HD nor 2K)

1:2,39: 2048 pixels x 858 lines

D-Cinema 4K frame format:

1:1,85: 4096 pixels x 2160 lines.

1:2,39: 4096 pixels x 1716 lines

Format&–&File&types'

Format: good appellation? Or File types?

How to define a digital data stream

7 parameters by Franck Montagne

AVC-Intra 100

Digital Betacam

DVCPRO50 and DVCPRO HD

ProRes (HQ, 422, LT, and Proxy)

XDCAM HD422 …

!  Mode of treatment

Color sampling

•  Raw •  RGB 4:4:4 •  Y-Cb-Cr

o  4:2:2 o  4:2:0 o  4:1:1 o  3:1:1


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4096 shades of grey in the Red channel

4096 shades of grey in the Green channel

4096 shades of grey in the Blue channel

Colour depth:

4096 x 4096 x 4096= More than 68 billion

of colors

Role of Quantification & Sampling







Colour depth:

256 x 256 x 256 with component Y Cb Cr sampling: More than 16 million

of colors but less possibilities due to compression

Alexa (Arri SxS recording) 12 bits 4:4:4:4 330 Mb/s

F35 (Sony) 10 bits 4:4:4

440 Mb/s or 880 Mb/s

EOS C300 (Canon) 8 bits 4:2:2

50 Mb/s

Colour depth:

1024 x 1024 x 1024= More than 1 billion

of colors


''

''

Digital filtering

Digital filtering

Quality level

Digital filtering

4:2:2 4:4:4 4:2:0

Consequences&of&bitrate&and&compression&choices'

Chroma sub sampling

Practice of encoding images by implementing less resolution for Chroma Information (R and B) than for Luma information ( Y, grey pixels). It is used in many Video Encoding schemes - both analog and digital - and also in JPEG Encoding.

Difference of storage between 4:4:4 and 4:2:2: 25%

Difference of storage between 4:4:4 and 4:1:1: 50%

Role of Color subsampling Example: 4:2:2 & 4:2:0


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Media&the&8Th&parameter'


MEDIA

WHAT IS IMPORTANT TO KNOW ABOUT MEDIA PERFORMANCES •  Type of file format recordable (Codec, frame rate, resolution, bitrate, color sampling, quantification, container)

•  High speed recording capacities. Frame rate is an important parameter •  Recording times/capacities •  Minimum/maximum read/write speed •  Some manufacturers guarantee speeds, some not. •  Transfer speeds (offload) linked to readers/accessories/adapters. Transfer speeds vary and

are dependent on host device. •  Combination between camera and media (example: Arri Amira approves or not media)

WHAT IS IMPORTANT TO KNOW ABOUT THE WAY CAMERA MANUFACTURERS ARE HANDLING & CHOOSING THE MEDIA - THE RECONSTRUCTION

•  Example: SxS Cards, they are designed for motion picture and they contain safety tools (controller with

an intelligence function). Files can be reconstructed in a special Sony center in Brussels

Universal serial Bus USB 1.1 = 17 Mbits/sec USB 2.0 = 480 Mbits/sec USB 3.0 = 4,8 Gbits/sec

FireWire = IEEE 1394 = i.LINK Fire Wire 400 = 400 Mbits/sec Fire Wire 800 = 800 Mbits/sec

External Serial Advanced Technology Attachment S-ATA = 1,2 Gbits/sec S-ATA II = 3 Gbits/sec

Ethernet'

Ethernet = 10 Mb/sec Fast Ethernet = 100 Mb/sec Gigabit Ethernet = 1000 Mb/sec RJ 45 socket

4 pins 6 pins 9 pins

Thunderbolt = 10 Gbits/sec

Interfaces, connections


Computerized world has no mercy! Lifespan of: •  Hardware/software is between 3 and 5 years •  Physical interface or firmware interface is between 5 to 10+ years •  A media drive is 3 to 5 years

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All these choices are not trivial.

The consequences on the finished film’s quality and cost must totally be taken

into account.


What is the advantage for SFX and grading of having :

!  10 bits rather than 8 bits ?

!  10 bits RGB rather than 10 bits Y-Pb-Pr ? : "  Keying made easier

"  Compositing made easier

"  Better rendering of flesh tones

"  Color correction made easier


Three'important'noOons'

Bitrate&and&codec'

Bitrate

Codec : Coding - Decoding Example : JPEG 2000 (300 Mb/s) - ProRes 12-bit 4:4:4:4 (280Mb/s) - AVC-Intra 100 (100 Mb/s)

The bitrate (number of information per second) depends : !  On the image width

!  On the image height !  On the signal processing !  On the quantification` !  On the frequency (or speed)

!  On the Codec type used

(from 960 pixels to 4096 pixels, even more)

(from 720 pixels to 3072 pixels, even more)

(Raw, RVB or Component YCbCr)

(8-bit, 10-bit, 12-bit, 16-bit, 32-bit)

(23.98, 24, 25, 29.97,30, 50, 59.94,60 fps, …)

(Jpeg 2000, ProRez, XAVC, Mpeg2…)

Compression Information reduction


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Quality Production costs

Post-production costs


?

The higher the image quality, The less expensive the production is

The higher the image quality is. The more expensive the production is

The higher the bitrate, The lower the compression

The lower the bitrate, the higher the compression,


Quantification

256 grey levels by RGB color

�

8 bits


CF cards

Codec Mpeg2 8 bits 4:2:2 encapsulé en MXF

Subsampling

4:2:2 Y-Cr-Cb COMPONENT

50 Mb/s

Color Sampling Exhibition

1920 x 1080 pixels

10 bits

Portable recorder Transcoding

AJA Ki Pro Mini

185 Mb/s 1920 x 1080 pixels

External recording

8 bits 4.2.2 Uncompressed camera output

Codec Apple

ProRes 422 (HQ)

Subsampling

Camera

8 bit output only!!!!

CANON C 300

3840 x 2160 photosites


3 colors split in Y luminance (B&W) and Cr & Cb, red and blue difference components


Theater Release

TV Broadcasting

Quality level



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Quantification


�

8 bits


CF cards

Subsampling


50 Mb/s


10 bits

DPX 10 bit 4:4:4


4:4:4 RGB

Gemini

Luminance information equal to chroma information

ANOTHER SOLUTION

Mb/s 4096 x 2160 pixels

External recording

Camera

4K RAW Uncompressed camera output

3G SDI

1920 x 1080 pixels



CANON C 500

Theater Release

TV Broadcasting 3 colors split in Y

luminance (B&W) and Cr & Cb, red and blue difference components



Quantification


�

8 bits


Subsampling


Sony PMW-EX3 35 Mb/s



10 bits


AJA Ki Pro Mini

ANOTHER SOLUTION

Theater Release

185 Mb/s

External recording

Camera

1920 x 1080 x 3 photosites

Carte SxS

Codec Mpeg2 Long GOP HQ mode VBR

8 bits 4:2:0 encapsulé en MXF


1920 x 1080 pixels

8 bits 4.2.2 Uncompressed camera output

Codec Apple ProRes

422 (HQ) or

Apple ProRes 422 Apple ProRes (LT)

Apple ProRes (Proxy)

TV Broadcasting 3 colors split in Y

luminance (B&W) and Cr & Cb, red and blue difference components


Subsampling

1920 x 1080 pixels


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Quantification


�

8 bits

10 bits


Carte SxS


DPX 10 bit 4:4:4

Subsampling


35 Mb/s



ANOTHER SOLUTION

10 bits 4.4.4 S Log

Uncompressed camera output

Mb/s

1920 x 1080 pixels

Camera

External recording

x photosites


Gemini

Sony PMW-F3

4:4:4 RGB

Luminance information equal to chroma information Theater Release

TV Broadcasting



1920 x 1080 pixels

Bitrate and codec

Countries&in&60&Hertz&(USA,&Canada,&Japon…):&& &More&easy&when&ediDng&and&mixing&with&23.98,&29.97,&59,94&fps&

&Before&choosing&frequency:&

& &&BeZer&to&know&the&country&where&postproducDon&will&be&done&&&

In&Europe,&beZer&shooDng&and&postproducing&in&25&fps,&or&in&24&fps&if&you&have&to&send&deliveries&to&USA,&Canada,&Japon&

Issues&related&with&frequencies?&

PlayDme&of&programmes&depends&on&contracts&and&depends&on&frequency.&&BeZer&to&anDcipate&safeDes&during&ediDng&for&all&foreign&deliveries.&

Countries&in&50&Hertz&(Europe…):&& &More&easy&when&ediDng&and&mixing&with&24,&25,&50&fps&

When&shooDng&abroad,&the&choice&of&shuZer&speed&depends&on&countryaspecific&frequency&&


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Great confusion or / and good marketing between:

!  Number of photosites

!  Size of the sensor

!  Number of sensors

!  Type of sensor

!  Number of pixels recorded

!  Resolution / sharpness / MTF

!  Recording format

!  Exhibition format

Pixels&vs&&Photosites'

FINAL'RESOLUTION'

Marketing stories The fact that a camera can deliver a 4 K image doesn’t mean that it has the required numbers of photosites to deliver a real 4K resolution.

Whitout carefully paying attention, all these matched informations can lead to wrong decisions and to wrong process (during post: SFX, keying).

There are no pixels on a sensor but photosites. Pixels appears during sampling and recording


The type of sensor will have a direct influence on the workflow and therefore on the budget

RGB OUTPUT

Camera'block'

Lens'

Blue'sensor'

Red'sensor'

CCDor'CMOS'block'

Green'sensor'

Sensor&types'

!  The 3 Sensors cameras (examples)

F23 (Sony) 3-chip 2/3-inch


HDW-F900 (Sony) 2/3" 3-CCD sensor


AJ-HPX 3700 Panasonic 2/3" 3-CCD sensor


EX-3 (Sony) 3 x ½ -CMOS sensor



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Sensor&types'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R' G' B'

R'

R'

R'

R'

R'

R'

R'

R'

R'

R'

R'

R'

!  The 1 Sensor cameras - The Striped pattern (examples)

F35 (Sony) Mono CCD sensor


Genesis

(Panavision) Mono CCD sensor Sriped pattern


R' G' B'

UNIT'CELL''

MACRO'CELL''

R' G' B'R' G' B'

RGB OUTPUT


In the Bayer pattern, green samples are arranged in a checkerboard pattern, and the red and blue samples are arranged in rectangular grid pattern.

The density the green samples are twice that of the red and blue ones.

Sensor&types'

G'B' B' B'G' G'R' G' R' G'G' R'

G'B' B' B'G' G'R' G' R' G'G' R'G'B' B' B'G' G'R' G' R' G'G' R'

!  The 1 Sensor cameras - The Bayer pattern

B' G'G' R'

B' G'G' R'B' G'G' R'

B'G'

B'G'B'G'

G'R'

G'R'G'R'

for 1 x 2 x & 1 x G' G' B'R'

The reason for why there are more green samples than red or blue samples is that the human visual system is more sensitive to luminance rather than chrominance.

Luminance contains important spatial information, and we would like to preserve as much spatial detail as possible during the process.


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Sensor&types'

!  The 1 Sensor cameras - The Bayer pattern

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

Debayering

RGB OUTPUT


A Bayer filter could be defined as a digital negative

which is used during post-production to

restore an RGB flow

We are in front of a lab, a software which develops images and which: •  Is not always built-in •  Is not always done real time. •  Can be done in various ways ( Irridas, Glue

Tools, Phantom, Red, Arri, etc

RGB OUTPUT

Sensor&types'!  The 1 Sensor cameras - The Bayer pattern (examples)

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

R'G'

B' G'

Debayering

Math'process'Debayering'is'not'only'a'mathemaOc'

process'but'also'an'arOsOc'process.'

Epic (Red Digital

Cinema)

Alexa (Arri)

C500 (Canon)

F65 (Sony)

F55 (Sony)

Delta Pénélope (Aaton)

F3 (Sony)


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Pixels&vs&&Photosites'

F65 (Sony)

20K photosites 4K recording

!  The 1 Sensor cameras - The F65 pattern

G'B' B' B'G'R'

G' R' G'

G' B' B'G'R' G' R' G'G' B' B'G'

G' G' G'B'R'

G' G' G' G'B' B'R'

G'R'

G' G' G' G'G'

G'R'

B'

G'

G'

G'B'R' B'R' R'

G' G' G' G'G' G'

G'R'

B' B'G'G' R' G'

G' B' B'G'R' G' R' G'G' B' B'G'

G'R'

G'R'G'

G'R'

F65 Sensor� Conventional 4K Bayer Sensor�

8K grid

8K grid

4K grid

4K grid

•  Super 35mm 3-perf. •  Total Pixel Count: 20.0M •  8K&CMOS&Image&Sensor&

24.7mm�

13.1

mm�

28mm�

Photosites&arrayed&on&45adegree&diagonals&allow&to&lower&the&aliasing&issues&©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com

Red Code Raw

CF Cards Red Drives Conform

Edit Release print

Red Code Raw

CF Cards Red Drives Conform

Edit Release print

Red Code Raw

CF Cards Red Drives

Digital shooting Red digital cameras (One, MX, Epic) - 3 ways of Debayering after shoot. This features can be applied to all cameras using bayer pattern

Release print Debayering

RED EPIC

Lab

Lab Print to film

Grading Debayering

Grading Debayering

Grading Lab Conform

Edit Print to film

Print to film

Essential features of a digital workflow

RED EPIC

RED EPIC


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Postproduction

Editing

Video Assist Epic

Dit Monitor

Real time debayering

RAW RAID 5

RAW + dailies RAID 0

RAW + dailies External rugged

drive

Shoot

Workflow: TV commercials workflow with the Red Epic

Broadcasting

Blu-ray

Internet

Film Screening

Back up

Quantum LTO IV drives

SAN-Sync

ScratchLab Debayering

with metadata

DNx HD or ProRes with

Rec 709 preview LUT

Dailies

R & D Creation of

customized LUT’s & Look

SAN

Grading for TV

HD 2.5K or 5K 10 bits log or 16 bits fp

Conform

DPX files

VFX Titles

BROADCAST MASTER

Re-grading in Rec 709 (Lut w / Gamma)

Legal Range

Fulll Range

Film Screening EPIC (Red Digital)

Files Recording

OnLine postproduction

Zürich Switzerland

GRADING FOR BROADCASTING


Editing

Broadcasting

Blu-ray

Digital Screening

Internet



Video Assist

Dit Monitor

Epic

RAW RAID 5


LUT & Look

XSERVE (Ingest station)

R & D Creation of customized

LUT’s & Look

RAW Ingest RAW Conforming(EDL, XML, AAF)Color management

Baselight / Truelight network

Control of Dailies 24’ LCD Cine-Tall DLP projector



drive

Epic

10

Back up Quantum LTO IV

drives

SAN-Sync EDL XML / AAF

Clipster Finishing & mastering SAN

DSM

Grading

Adobe Production Premium Titles & credits

The&End&

DCP

DCDM

Transfer to film

Shoot

Red Epic camera workflow – Feature film – Kodak Cinelabs Romania

Film Screening Kodak Cinelabs Postproduction


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Postproduction

Editing

Video Assist

Dit Monitor

RAW RAID 5



drive

Shoot Film Screening

Back up

Quantum LTO IV drives

SAN-Sync

DNx HD or ProRes with

Rec 709 preview LUT

Dailies

R & D Creation of

customized LUT’s & Look

Conform

DPX files

SAN

VFX Titles

Workflow: TV commercials - Workflow with the Arri Alexa

Alexa

HD, 2K or 2.8K 10 bits log or 16 bits fp

ALEXA (Arri Digital)

SxS Recording

GRADING FOR BROADCASTING

OnLine postproduction

Zürich Switzerland

Broadcasting

Blu-ray

Internet

Grading for TV

BROADCAST MASTER

Re-grading in Rec 709 (Lut w / Gamma)

Legal Range

Fulll Range


Previsualization

How to see the same image all the way

through the workflow?

Monitoring / shoot Monitoring / editing Grading

With new cameras using log curves, it is impossible to show to producers and directors the flat, low, desaturated image without pre-grading. A table of conversion (Lut: Look-up table) is used to correct the image and/or to simulate a space color of final destination (example: Kodak or Fuji film lut for a film out).

Lut&


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Tests Rental house

Manufacturers •  The lab’s knowledge about cameras and codecs

•  The preparation of the cameras by the rental house under the supervision of the lab

•  Artistic & technical control of the image through luts

•  Involvements of DPs, DITs and colourists

Monitoring / shoot Monitoring / editing Grading

Luts Luts Luts

Previsualization

Lab


Digital&dailies&checks&

Digital shoot

Check

Data check Means:

Checksum, good migration 0101101 >> 0101101

Digital shoot on file Example SxS card

Check

Quality check Means:

Technical control, focus, exposure, etc. Need of reference monitor or DCI / ISO

projection

Two types of check


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Image reconstruction

RGB

DeBayering

Color Space

Contrast Encoding

SHOOT POST-PRODUCTION

Sensor&types'

Internal real time deBayering

XR Capture Drive

Z&

Luts Luts

Luts

Luts Confo / Grading Monitoring

Previsualization

Role of Luts

Monitor. editing

Alexa XT ARRIRAW recording

Internal recording

Recording

ARRIRAW


External recording


Sensor&types'

<<<<&

Recording Confo / Grading Monitoring Previsualization

Monitor. editing

Alexa XT

Same&image&&&&&&&&&all&along&the&workflow&

ARRIRAW recording

External recording


06/11/14&

20&


F55 + AXS-R5

SONY RAW

Sensor&types'SHOOT POST-PRODUCTION


RGB

DeBayering

Color Space

Contrast Encoding

Monitor. editing

Confo / Grading Monitoring Previsualization

Luts Luts

Luts

Luts


Role of Luts

Onboard recording

External recording



Sensor&types'

Confo / Grading Monitoring Previsualization

Monitor. editing

F55 + AXS-R5

Same&image&&&&&&&&&all&along&the&workflow&

External recording

06/11/14&

21&

Sensor&types'SHOOT


Monitoring Previsualization

Recording

POST-PRODUCTION


RGB

DeBayering

Z&Monitor. editing

Confo / Grading

Color Space

Contrast Encoding

Luts

Luts

Luts

REDCODE RAW

Role of Luts

Red Epic


Sensor&types'SHOOT

Monitoring Previsualization

Recording

POST-PRODUCTION

Confo / Grading

Monitor. editing

Not&the&same&image&all&along&the&workflow&

Red Epic


But&camera&has&the&advantage&of&a&smaller&size!&

External recording Live output

3840 x 2160 XAVC QFHD 10-bit 4:2:2

2048 x 1080 XAVC 2K 10-bit 4:2:2

MPEG4 SStP SR FILES

Recording options

4096/3840 x 2160 4K/QFHD 10-bit 4:4:4 Up to 30p 10-bit 4:2:2 Over 30p

PRODUCTION + MONITORING

Internal recording

2048 x 1080 16-bit Lin 2K RAW

Onboard recording

2K: No Crop factor, no telephoto conversion, need CBK-55F2K Optical Filter to reduce aliasing

External recording from AXS-R5

4096 x 2160 XAVC 4K 10-bit 4:2:2

1920 x 1080 - 10-bit 4:2:2 RECORDING + MONITORING

HD 16:9

Closer to RAW demozaicing SLog2

Access Memory Card

AXS-512 S24�RAW

1920x 1080 XAVC HD 10-bit 4:2:2

QFHD 16:9 4K 17:9

2K 17:9

HD 16:9

1920 x 1080 DnxHD 220x/185x/175x 10-bit 4:2:2

1920 x 1080 DnxHD 145x/120x/115x 8-bit 4:2:2

1920 x 1080 ProRes - 10-bit 4:2:2

1920 x 1080 ProRes - 12-bit 4:4:4:4 1920 x 1080 ProRes - 10-bit 4:2:2 HQ

1920 x 1080 SR SStP - HD 10-bit 4:2:2

1920 x 1080 SR SStP - HD 10-bit 4:4:4

1280 x 720 MPEG2 8-bit 4:2:2

1920 x 1080 MPEG2 8-bit 4:2:2 HD 16:9

HD 16:9

HD 16:9

HD 16:9

2K 17:9

4K 17:9 4096 x 2160 16-bit Lin 4K RAW

1 x MON OUT HDMI Terminal

4 x REC OUT

Configurable 4 x 3G-SDI or

2 x HD-SDI Outputs

2 x HD-SDI Monitor Outputs

4K or QFHD Up to

Real-time 4K live production output

Each Channel 10-bit 4:4:4 Up to 30p 10-bit 4:2:2 Over 30p

HD-SDI AXS-R5 Onboard RAW Recorder

F55 + Recorder

4K or QFHD Up to

Real-time 4K output

QA<$ SxS-1

SxS PRO

QA<$ SxS PRO+

4096/3840 x 2160 8-bit 4:2:0 4K or QFHD MONITORING

Option board CBKZ-55PD


Version 5.0 Dec 2014

Option board CBKZ-55PD ProRes & DNxHD

Sony F55 + AXS-R5


3840 x 2160 XAVC QFHD 10-bit 4:2:2

2048 x 1080 XAVC 2K 10-bit 4:2:2

MPEG4 SStP SR FILES

Recording options



Internal recording

2048 x 1080 16-bit Lin 2K RAW

Onboard recording



4096 x 2160 XAVC 4K 10-bit 4:2:2


HD 16:9


Access Memory Card

AXS-512 S24�RAW

1920 x 1080 XAVC HD 10-bit 4:2:2

QFHD 16:9 4K 17:9

2K 17:9

HD 16:9

1920 x 1080 DnxHD 220x/185x/175x 10-bit 4:2:2

1920 x 1080 DnxHD 145x/120x/115x 8-bit 4:2:2

1920 x 1080 ProRes - 10-bit 4:2:2


1920 x 1080 SR SStP - HD 10-bit 4:2:2

1920 x 1080 SR SStP - HD 10-bit 4:4:4

1280 x 720 MPEG2 8-bit 4:2:2

1920 x 1080 MPEG2 8-bit 4:2:2 HD 16:9

HD 16:9

HD 16:9

HD 16:9

2K 17:9

4K 17:9 4096 x 2160 16-bit Lin 4K RAW


4 x REC OUT


2 x HD-SDI Outputs


4K or QFHD Up to




F55 + Recorder

4K or QFHD Up to

Real-time 4K output

QA<$ SxS-1

SxS PRO

QA<$ SxS PRO+


Fps range: Up to 60 fps


720p Up to 60p

Up to 30 fps

Up to 30 fps

180p 1-180p S&Q

180p 1-180p S&Q

60p 1-60p S&Q

240p 1-240p S&Q

60p 1-60p S&Q

60p 1-60p S&Q

NO 2 x ANAMORPHIC


Option board CBKZ-55PD ProRes & DNxHD



23.98 / 24 / 25 / 29.97p

23.98 / 24 / 25 / 29.97 /50 59,94p 50/59,94i

23.98/25/29.97p 50/59,94i NO 24P

Sony F55 + AXS-R5

23.98 / 25 / 29.97 / 30p 60p - 50/59.97i

FPS range comparison

Recording options


2048 x 1080 XAVC 2K 10-bit 4:2:2

MPEG4 SStP SR FILES



Internal recording

2048 x 1080 16-bit Lin 2K RAW

Onboard recording




HD 16:9


Access Memory Card

AXS-512 S24�RAW

1920 x 1080 XAVC HD 10-bit 4:2:2

2K 17:9

HD 16:9

1920 x 1080 DnxHD 220x/185x/175x 10-bit 4:2:2

1920 x 1080 DnxHD 145x/120x/115x 8-bit 4:2:2

1920 x 1080 ProRes - 10-bit 4:2:2


1920 x 1080 SR SStP - HD 10-bit 4:2:2

1920 x 1080 SR SStP - HD 10-bit 4:4:4

1280 x 720 MPEG2 8-bit 4:2:2

1920 x 1080 MPEG2 8-bit 4:2:2 HD 16:9

HD 16:9

HD 16:9

HD 16:9

2K 17:9

4K 17:9 4096 x 2160 16-bit Lin 4K RAW


4 x REC OUT


2 x HD-SDI Outputs


4K or QFHD Up to




F5 + Recorder

4K or QFHD Up to

Real-time 4K output

QA<$ SxS-1

SxS PRO

QA<$ SxS PRO+





Sony F5 + AXS-R5

Recording options


2048 x 1080 XAVC 2K 10-bit 4:2:2

MPEG4 SStP SR FILES



Internal recording

2048 x 1080 16-bit Lin 2K RAW

Onboard recording




HD 16:9


Access Memory Card

AXS-512 S24�RAW

1920 x 1080 XAVC HD 10-bit 4:2:2

2K 17:9

HD 16:9

1920 x 1080 DnxHD 220x/185x/175x 10-bit 4:2:2

1920 x 1080 DnxHD 145x/120x/115x 8-bit 4:2:2

1920 x 1080 ProRes - 10-bit 4:2:2


1920 x 1080 SR SStP - HD 10-bit 4:2:2

1920 x 1080 SR SStP - HD 10-bit 4:4:4

1280 x 720 MPEG2 8-bit 4:2:2

1920 x 1080 MPEG2 8-bit 4:2:2 HD 16:9

HD 16:9

HD 16:9

HD 16:9

2K 17:9

4K 17:9 4096 x 2160 16-bit Lin 4K RAW


4 x REC OUT


2 x HD-SDI Outputs


4K or QFHD Up to




F5 + Recorder

4K or QFHD Up to

Real-time 4K output

QA<$ SxS-1

SxS PRO

QA<$ SxS PRO+





Sony F5 + AXS-R5



720p Up to 60p

23.98 / 25 / 29.97 / 30p 60p - 50/59.97/60i

Up to 30 fps

Up to 30 fps

120p 1-120p S&Q

120p 1-120p S&Q

120p 1-120p S&Q

60p 1-60p S&Q

23.98 / 24 / 25 / 29.97p

23.98 / 24 / 25 / 29.97 /50 59,94p 50/59,94i

23.98/25/29.97p 50/59,94i NO 24P

NO 2 x ANAMORPHIC

FPS range comparison

Alexa XT

2048 x 1536 ProRes - 10-bit 4:2:2 HQ 2048 x 1536 ProRes - 10-bit 4:2:2

2048 x 1536 ProRes - 12-bit 4:4:4:4


2048 x 1152 ProRes - 12-bit 4:4:4:4 2048 x 1152 ProRes - 12-bit 4:4:4:4 XQ

1920 x 1080 ProRes - 10-bit 4:2:2


1920 x 1080 ProRes - 12-bit 4:4:4:4 XQ

2048 x 1536 ProRes - 12-bit 4:4:4:4 XQ 2K 4:3

HD 16:9

HD 16:9

1920 x 1080 ProRes - 10-bit 4:2:2


1920 x 1080 ProRes - 12-bit 4:4:4:4 XQ


2048 x 1536 ProRes - 12-bit 4:4:4:4



2048 x 1536 ProRes - 12-bit 4:4:4:4 XQ 2K 4:3

HD 16:9

1920 x 1080 DnxHD 440 - 10 bit 4:4:4 1920 x 1080 DnxHD 220x/185x/175x 10-bit 4:2:2

1920 x 1080 DnxHD 145x/120x/115x 8-bit 4:2:2


1920 x 1080 DnxHD 145x/120x/115x 8-bit 4:2:2

Recording options

HD 16:9

Sup 10.1 June 2014!

XR Capture

Drive

2K 16:9

2K 16:9

SxS PRO Card CFast 2.0 Card

with SxS Pro or CFast 2,0

adapter

1920 x 1080 - 10 bit 4:2:2 YCbCr MONITORING Information overlay

1920 x 1080 - 10-bit 4:2:2 YCbCr

1920 x 1080 - 10-bit 4:4:4 RGB 2 x REC OUT

HD-SDI Uncompressed

Clean image

1 or 2 x MON OUT

HD-SDI HD 16:9

HD 16:9


ALEXA XT Studio

ALEXA XT Plus

ALEXA XT M

ALEXA XT

XT

Internal recording 14:9 ARRIRAW OPENGATE

2880 x 2160 12-bit uncompressed 2578 x 2160 12-bit uncompressed d

3414 x 2198 12-bit uncompressed

16:9 ARRIRAW 2.8K 2880 x 1620 12-bit uncompressed

4:3 ARRIRAW 2.8K Full 4:3 ARRIRAW 2.8K Crop


Alexa XT



1920 x 1080 ProRes - 12-bit 4:4:4:4 XQ

2K 4:3

2048 x

1536

HD 16:9

1920 x

1080


1920 x 1080 DnxHD 145x/120x/115x 8-bit 4:2:2

0,75 - 96 fps

0,75 - 120 fps

0,75 - 120 fps


1920 x 1080 DnxHD 145x/120x/115x 8-bit 4:2:2

1920 x 1080 ProRes - 10-bit 4:2:2


1920 x 1080 ProRes - 12-bit 4:4:4:4 XQ


2048 x 1536 ProRes - 12-bit 4:4:4:4



2048 x 1536 ProRes - 12-bit 4:4:4:4 XQ

0,75 - 60 fps

0,75 - 48 fps

0,75 - 60 fps

0,75 - 48 fps

0,75 - 60 fps

0,75 - 48 fps

HD 16:9

1920 x

1080

HD 16:9

1920 x 1080

Recording options

HD 16:9

1920 x 1080

2K 16:9

2048 x

1152

2048 x 1536 ProRes - 12-bit 4:4:4:4



1920 x 1080 ProRes - 10-bit 4:2:2

2048 x 1536 ProRes - 12-bit 4:4:4:4 XQ 2K 4:3

2048 x

1536


2 x REC OUT

1 or 2 x MON OUT

HD-SDI HD 16:9

HD 16:9


14:9 ARRIRAW OPENGATE




FPS range: 0,75 - 75 FPS range: 0,75 - 90 FPS range: 0,75 - 96 FPS range: 0,75 - 120

ALEXA XT Studio

ALEXA XT Plus

ALEXA XT M

ALEXA XT

XT

FPS range Comparison w/ High Speed license

XR Capture

Drive

2K 16:9

2048 x

1152

Internal recording 4:3 ARRIRAW 2.8K Full 4:3 ARRIRAW 2.8K Crop

0,75 - 90 fps

0,75 - 120 fps

0,75 - 120 fps

0,75 - 75 fps

0,75 - 120 fps

0,75 - 60 fps

0,75 - 60 fps

0,75 - 48 fps

0,75 - 48 fps

0,75 - 60 fps

0,75 - 48 fps

0,75 - 60 fps

0,75 - 48 fps

0,75 - 120 fps

0,75 - 120 fps

60/120 GB

CFast 2.0 Card with

CFast 2,0 adapter

0,75 - 120 fps

0,75 - 120 fps

0,75 - 120 fps

HD-SDI Uncompressed

Clean image 1920 x 1080 - 10-bit 4:2:2 YCbCr

1920 x 1080 - 10-bit 4:4:4 RGB

0,75 - 60 fps

0,75 - 48 fps

0,75 - 75 fps

Sup 10.1 June 2014!


Alexa XT


2K 4:3

2048 x

1536

HD 16:9

1920 x

1080


1920 x 1080 DnxHD 145x/120x/115x 8-bit 4:2:2

0,75 - 120 fps

0,75 - 120 fps


1920 x 1080 DnxHD 145x/120x/115x 8-bit 4:2:2

1920 x 1080 ProRes - 10-bit 4:2:2


1920 x 1080 ProRes - 12-bit 4:4:4:4 XQ


2048 x 1536 ProRes - 12-bit 4:4:4:4



2048 x 1536 ProRes - 12-bit 4:4:4:4 XQ

0,75 - 60 fps

0,75 - 48 fps

0,75 - 60 fps

0,75 - 48 fps

0,75 - 60 fps

0,75 - 48 fps

Recording options

HD 16:9

1920 x 1080

HD 16:9

1920 x 1080

1920 x 1080 ProRes - 12-bit 4:4:4:4 XQ HD 16:9

1920 x

1080

2K 16:9

2048 x

1152


2048 x 1536 ProRes - 12-bit 4:4:4:4



1920 x 1080 ProRes - 10-bit 4:2:2

2048 x 1536 ProRes - 12-bit 4:4:4:4 XQ

2K 16:9

2048 x

1152


1920 x 1080 - 10-bit 4:2:2 YCbCr

1920 x 1080 - 10-bit 4:4:4 RGB 2 x REC OUT

HD-SDI Uncompressed

Clean image

1 or 2 x MON OUT

HD-SDI HD 16:9

HD 16:9


2K 4:3

2048 x

1536

ALEXA XT Studio

ALEXA XT Plus

ALEXA XT M

ALEXA XT

XT

XR Capture

Drive

Internal recording

0,75 - 120 fps

0,75 - 120 fps

0,75 - 120 fps

0,75 - 60 fps

0,75 - 120 fps

0,75 - 120 fps

0,75 - 60 fps

0,75 - 40 fps

0,75 - 60 fps

0,75 - 30 fps

0,75 - 48 fps

0,75 - 60 fps

0,75 - 48 fps

0,75 - 60 fps

0,75 - 48 fps

0,75 - 48 fps

0,75 - 120 fps

0,75 - 120 fps








SxS PRO /PRO+ 64/128GB

Card with SxS Pro adapter

0,75 - 60 fps

0,75 - 48 fps

0,75 - 75 fps

Sup 10.1 June 2014!

0,75 - 96 fps


Alexa XT

32 GB SxS Pro Card with

SxS Pro adapter


2048 x 1536 ProRes - 12-bit 4:4:4:4


2048 x 1152 ProRes - 12-bit 4:4:4:4

2048 x 1152 ProRes - 12-bit 4:4:4:4 XQ

1920 x 1080 ProRes - 10-bit 4:2:2


12-bit 4:4:4:4 XQ Not Applicable

1920 x 1080 ProRes - 10-bit 4:2:2


1920 x 1080 ProRes - 12-bit 4:4:4:4 XQ


2048 x 1536 ProRes - 12-bit 4:4:4:4



2048 x 1536 ProRes - 12-bit 4:4:4:4 XQ 2K 4:3

2048 x

1536

2K 16:9

2048 x

1152

HD 16:9

1920 x

1080


0,75 - 60 fps

0,75 - 48 fps

0,75 - 40 fps

0,75 - 25 fps

0,75 - 30 fps

0,75 - 30 fps

1920 x 1080 DnxHD 145x/120x/115x 8-bit 4:2:2 0,75 - 120 fps


1920 x 1080 DnxHD 145x/120x/115x 8-bit 4:2:2

0,75 - 30 fps

0,75 - 60 fps

0,75 - 60 fps

0,75 - 60 fps

0,75 - 48 fps

0,75 - 60 fps

0,75 - 50 fps

0,75 - 40 fps

0,75 - 60 fps

0,75 - 60 fps

0,75 - 48 fps

0,75 - 60 fps

0,75 - 48 fps

2K 4:3

2048 x

1536

2K 16:9

2048 x

1152

HD 16:9

1920 x 1080

Recording options

HD 16:9

1920 x 1080

HD 16:9

1920 x

1080


1920 x 1080 - 10-bit 4:2:2 YCbCr

1920 x 1080 - 10-bit 4:4:4 RGB 2 x REC OUT

HD-SDI Uncompressed

Clean image

1 or 2 x MON OUT

HD-SDI HD 16:9

HD 16:9


ALEXA XT Studio

ALEXA XT Plus

ALEXA XT M

ALEXA XT

XT

XR Capture

Drive

Internal recording

0,75 - 120 fps

0,75 - 120 fps

0,75 - 120 fps

0,75 - 120 fps








0,75 - 60 fps

0,75 - 48 fps

0,75 - 75 fps

Sup 10.1 June 2014!

0,75 - 96 fps

12-bit 4:4:4:4 XQ Not Applicable


Aug 2014!

Alexa XT

1920 x 1080 ProRes - 10-bit 4:2:2


1920 x 1080 ProRes - 12-bit 4:4:4:4 XQ


2048 x 1536 ProRes - 12-bit 4:4:4:4



2048 x 1536 ProRes - 12-bit 4:4:4:4 XQ 2K 4:3

2K 16:9

HD 16:9


2048 x 1536 ProRes - 12-bit 4:4:4:4



1920 x 1080 ProRes - 10-bit 4:2:2


1920 x 1080 ProRes - 12-bit 4:4:4:4 XQ

2048 x 1536 ProRes - 12-bit 4:4:4:4 XQ 2K 4:3

2K 16:9

HD 16:9

HD 16:9


1920 x 1080 DnxHD 145x/120x/115x 8-bit 4:2:2


1920 x 1080 DnxHD 145x/120x/115x 8-bit 4:2:2

Recording options

HD 16:9

SxS PRO Card CFast 2.0 Card

with SxS Pro or CFast 2,0

adapter


1920 x 1080 - 10-bit 4:2:2 YCbCr

1920 x 1080 - 10-bit 4:4:4 RGB 2 x REC OUT

HD-SDI Uncompressed

Clean image

1 or 2 x MON OUT

HD-SDI HD 16:9

HD 16:9


ALEXA XT Studio

ALEXA XT Plus

ALEXA XT M

ALEXA XT

XT

XR Capture

Drive

Internal recording 14:9 ARRIRAW OPENGATE

2880 x 2160 12-bit uncompressed 2578 x 2160 12-bit uncompressed




4:3 - REAL 2x ANAMORPHIC ©: Philippe Ros AFC Cinematographer & Digital Imaging Supervisor www.philipperos.com

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